COMMERCIALS 30 03 =PARTIZAN
www.partizan.com
40/42 Lexington Street, London, W1F 0LN t 020 7851 0200
exec producer Madeleine Sanderson directors number 4th commissions 4th peer 2nd awards 3rd top ads/directors 9th credits 001 by Traktor for Rainey Kelly/Virgin Atlantic; A Tribute to Givers by Eric Lynne for Adam and Eve/John Lewis
It’s “contending with smaller budgets” but Partizan says it’s still managed to produce ‘commercials and music videos we are proud of”. It’s another outfit that’s got in on the John Lewis action with Eric Lynne’s Tribute to Givers spot and it also injected some glamour back in to air travel with its Virgin Atlantic ad.
Nationwide Carousel
03 =STINK
www.stink.tv
1 Alfred Mews, London, W1T 7AA t 020 7462 4000
05 =GORGEOUS
www.gorgeous.co.uk
Gorgeous House, 11 Portland Mews, London, W1F 8JL t 020 7287 4060
05 =INDEPENDENT
www.independ.net
7/8 Bourlet Close, London, W1W 7BW t 020 7927 9400
Lurpak Kitchen Odyssey
key management Daniel Bergmann , Robert Herman, Blake Powell directors number 1st commissions 7th peer 11th awards 5th top ads/directors 5th credits Kitchen Odyssey by Martin Krejci for Wieden and Kennedy/Lurpak, Cats by Adam Berg for Mother/Ikea
Stink may be something of a behemoth, but it’s a creative powerhouse too whose directors have made some fantastic spots in the past year including Martin Krejci’s ode to the omelette in his Lurpak Kitchen Odyssey commercial and Adam Berg’s Cats spot for Ikea. But as decent scripts in general become rare in straitened times, it’s maintaining a creative reputation that’s concerning Stink and how to keep “creating innovative work and pushing the boundaries” as well as “signing fresh talent” when no one wants to take risks any more. But as agencies push to get more for their money, Stink sees its size and diversity as a big pull as “with agencies wanting both the tvc and digital element – being able to come to us to do the whole lot and work across both parts with us is an advantage.”
Orange Popcorn
md Paul Rothwell head of sales Chia Tucker directors number 33rd commissions 25th peer 6th awards 4th top ads/directors 2nd credits Popcorn by Chris Palmer for Fallon/ Orange; Entertainment by Peter Thwaites for BBDO NY/AT&T
Gorgeous characterises the past year in commercials production as “increasingly competitive – chasing the limited good work that exists and having to be more resourceful than ever.” No surprises there. But Gorgeous does manage to catch its share of the good work on offer including Chris Palmer’s viral hit Royal Wedding for T Mobile as well as his giant rooftop pool tournament spot for Budweiser. The trick now, says Gorgeous, is “ensuring that what starts as a great idea doesn’t lose its creativity along the production process” and “preserving the integrity of an idea as more campaigns are made to work across multiple global markets.” As with most production houses, Gorgeous increasingly looks beyond the tvc with virals, interactive films, features, promos and shorts now all part of the mix.
NikeWrite the Future
md Jani Guest head of production Verity White ep/head of content Matt Minor director number 7th commissions 26th peer 17th awards 1st top ads/ directors 6th credits Chip Flick/Champ by The Glue Society for AMV BBDO/Doritos; Endless Goodbye by Philippe Andre for JWT Delhi/Bharti Airtel
At first glance, it would be easy to imagine that those at Independent spent most of the last year recovering from hangovers as the Write the Future spot picked up yet another award on the international circuit. But despite such successes, Independent says the business climate has been “consistently inconsistent, in terms of volume of work. There are periods where there is a sufficient amount of work about and times where there is virtually none. In the past year what has been consistent are reduced budgets and, in general, not enough funds for the creative work that agencies are producing for their clients.” But, says Independent, with structured roles and dividing lines between client, agency and production company breaking down there will opportunities to be “found in the cracks.”
November 2011 |
www.televisual.com C13
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44